Friedrich Nietzsche (via zadrzi-svoj-dah)
Mise en scène is an abstract and theoretical concept, a more or
less homogenous network of choices and constraints which is sometimes called metatext (Pavis, 1985), performance text or testo spettacolare (de Marinis, 1982). The metatext is an unwritten text which encompasses all the various choices the director has consciously or unconsciously made during the rehearsal process, options which are visible in the final product (or which can sometimes be found in the production book which is not, however, identical to the metatext).
The State of Current Theatre Research
Université de Paris VIII
My film is composed of a series of tableaux that illustrate the human condition. The characters represent different facets of human existence. They face problems, large and small, that range from issues of day-to-day survival to the big philosophical questions. I hope that You, the Living will give audiences the impression of watching moments of their own existence.
My study of man’s fascination with man sheds light on the underlying philosophy of the film. Contemporary cinema often ignores these values and favors storytelling that is in line with conventional dramaturgy. The intention is not to condemn this type of cinema, but instead to develop a cinematic language that is less predictable. My film breaks with classic narrative structure to tell its story via a mosaic of human destinies.
The tableaux show the misunderstandings and mistakes made by people who meet but don’t really, because they feel so pressed for time, in their pursuit of what seems important to them. The film is about people’s lives, their work, how they behave in society, their thoughts, worries, dreams, sorrows, joys, and unquenchable thirst for acknowledgment and love. These phenomena, what they’re made of as much as their appearance and motivation, have as many variations as there are people on earth. And this is why ‘man is man’s delight.
Roy Andersson on ‘You, the Living’
A Japanese legend says that if you can’t sleep at night it’s because you’re awake in someone else’s dream.
Anonymous (via b-a-m-b-i)
Art is a selective re-creation of reality according to an artist’s metaphysical value-judgments. An artist recreates those aspects of reality which represent his fundamental view of man’s nature.
Marcel Proust (via horreure)
Kristyn Vinikour - The Gennie Messages (2009)
A project telling the true story of Genevieve “Gennie” Pilarski, a manic-depressive who was committed to Monteno State Hospital in Illinois by her parents in 1944 at the age of 25. By 1950, Gennie was placed in a research ward at MSH where she was involuntarily experimented on for years.
For the rest of her life, she was sent from ward to ward and nursing home to nursing home. It was at one of these nursing homes, at the age of 80, that she died, a ward of the state. For the last 20 years of her life she was “incapable of any kind of human interaction” and spent her last days “buried under her bedclothes or roaming the halls of her nursing home, drooling and babbling“.
Bill Bryson, I’m a Stranger Here Myself (via ntirintin)
The artist’s statement:
Alexa Meade and Sheila Vand have collaborated on a body of work that explores the fluidity of form in relation to time and space. By stripping the subject of depth and dimension, a displacement of identity ensues, demonstrating the power of context over content.
Meade’s signature style of painting portraits on the body is submerged in a canvas of milk, where Vand’s performance is dictated by the opposing forces of fixed shadows and fluid space. Together, the artists compose an expressive identity for each image, but as the milk interacts with the pre-arranged pose, a new identity is formed that must be constantly re-imagined and re-shaped in the moment. As the paint seeps away into the milk, Vand’s performance must continually shift to accommodate its new context and form while Meade’s photography must capture the ephemeral moments before they de-materialize. The result is an ever-evolving, time-based portrait that includes every layer of the process within each consecutive frame. Each new visual identity is a product of the versions that came before.
The surface of the milk intersects Vand’s body at an uneven and unusual plane, creating a sense of movement and depth beneath her compressed form. This play on dimensionality in the picture plane evokes an optical illusion that activates the viewer’s experience by challenging their common perceptions. The identifiable becomes ineffable, giving the flat photography of the painted three-dimensional space an unsettling tone. By blending the borders between the subject and its surroundings, identity is muted and we’re left with the distilled nuances that shape the space.
Language is a skin: I rub my language against the other. It is as if I had words instead of fingers, or fingers at the tip of my words. My language trembles with desire.
Roland Barthes (via penseesduchoeur)